Friday, June 23, 2017

Orchestrating Elegance: Alma-Tadema and Design

 Clark Art Institute
June 4–September 4, 2017

As resurgent interest in Sir Lawrence Alma-Tadema (British, born Netherlands 1836–1912) raises appreciation and interest in his work for a new generation, the Clark Art Institute offers new insight into one of the painter’s most successful and distinctive artistic endeavors—the design of a music room for the New York mansion of financier, art collector, and philanthropist Henry Gurdon Marquand (1819–1902).

Orchestrating Elegance: Alma-Tadema and Design reunites twelve of nineteen pieces from the original furniture suite, along with paintings, ceramics, textiles, and sculpture from the room for the first time since Marquand’s estate was auctioned in 1903. The Clark’s ornately decorated Steinway piano, acquired in 1997, is the centerpiece of the exhibition.

On view June 4–September 4, 2017, the exhibition examines the music room and its objects from a number of perspectives, including how the commission unfolded and why Alma-Tadema was chosen to design the interior in a Greco-Pompeian style; the contributions of other artists, such as Frederic, Lord Leighton (English, 1830–96) and Sir Edward Poynter (English, 1836–1919); the aesthetic impact of the finished furniture and room; and the history of the piano. In addition to objects from the original music room, the exhibition includes paintings, preparatory drawings, books, and photographs that provide background and context for the project.

“Exhibition co-curators Kathleen Morris and Alexis Goodin have brought back to life one of the great interiors of Gilded Age New York,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark. “We look forward to giving our visitors the experience of stepping back in time to marvel at one of the most extraordinary artistic collaborations of the late nineteenth century.”

Henry Marquand was one of the founders of The Metropolitan Museum of Art and acted as its second president. He donated many works of art to the Met during his life, often buying specifically for that purpose.



The Met’s imposing portrait of Marquand by John Singer Sargent (American, 1856–1925), which affirmed the sitter as a prominent member of late-nineteenth century New York society, is featured in the Clark’s exhibition. Marquand’s collections filled his house, which included a series of rooms dedicated to separate artistic cultures or styles, each featuring interiors designed by leading artists and craftsmen to complement displays of original works of art.

“Tracking down the location of all of these objects, and researching their fascinating histories, has been immensely exciting and rewarding,” said Kathleen M. Morris, exhibition co-curator and Sylvia and Leonard Marx Director of Exhibitions and Curator of Decorative Arts. “We found a pair of original portieres, or door curtains, from the suite in a private collection and developed a close friendship with the owner, Brian Coleman. We were thrilled when he donated them to the Clark in 2015. These portieres have added enormously to our knowledge of how the original suite looked, as the rest of the furniture has lost its original upholstery.” These original textiles helped Morris and co-curator Alexis Goodin, curatorial research associate, recreate the original upholstery of the Clark’s piano stools in collaboration with noted weaver Rabbit Goody of Thistle Hill Weavers, embroiderer Elizabeth Creeden of Wellingsly Studio, and upholsterer Elizabeth Lahikainen, who specializes in historical furniture.

The conservation projects undertaken in advance of the exhibition also included the recreation of missing “HMG” monograms originally inlaid on both sides of each piano stool. “Equaling the high caliber craftsmanship of the original wasn’t easy or quick to accomplish, but the furniture conservator, artist, and wood turner we worked with rose to the challenge on this project. They expertly recreated the inlay that has long been missing from the stools, returning these pieces to their original aesthetic,” noted Goodin. The conservation projects are highlighted in the final gallery of the exhibition.

Alma-Tadema and Classical Antiquity
 
The Marquand mansion was designed by architect Richard Morris Hunt (1827–1895) and completed in 1884. When Marquand commissioned Alma-Tadema, the London-based artist was well established as the premier painter of classical antiquity. Orchestrating Elegance includes several paintings that helped build this reputation:



Preparation for Festivities (1866),


The Sculpture Gallery (1875),



Between Hope and Fear (1876),



and The Women of Amphissa (1887).

In addition, preparatory sketches and related drawings and photographs demonstrate his ability as a draftsman and his approach to incorporating ancient references in his works. Alma-Tadema’s skill as a designer of interiors was also well known at the time of the commission. He designed his own homes in London to showcase his extensive and eclectic collections, and these interiors were celebrated in many publications of the time. Marquand no doubt knew of these famous houses and made the decision to commission the artist to design the music room.

The Music Room
 
The music room acted as the Marquand mansion’s parlor and formed the social center of the residence. In it, Marquand displayed a portion of his famous collection of European paintings including two works by Alma-Tadema:



A Reading from Homer (1885)



and Amo Te, Ama Me (1881),

both on view in the exhibition. Classical antiquities, including marble sculptures and vases, as well as modern sculpture in the antique style were also found in the room and are represented in the exhibition.



Marquand set no cost limit for the music room project, which was Alma-Tadema’s only commission of this type. The resulting furniture suite, extraordinary in every detail, created a sensation when it was displayed in London prior to shipment to New York. Acclaimed for its imaginative forms, the suite was painstakingly decorated with veneers of ebony and cedar accented with elaborately carved inlays of boxwood, ivory, abalone, and mother-of-pearl. Magazines and newspapers on both sides of the Atlantic featured extensive coverage of the furniture and the room, praising the design and craftsmanship, while marveling at the cost: an estimated $50,000 for the piano alone. When the Clark purchased the piano at auction in 1997 for $1.2 million, headlines across Europe and the United States once again touted the price paid for the piano, which was the most expensive sold at auction up to that time. That benchmark was eclipsed in 2000 when the piano John Lennon used to write Imagine sold for $2.1 million.

Specialist art and furniture periodicals as well as the popular press lauded the suite at the time it was made. The furniture was described in superlative terms—“magnificent,” “splendid,” “superb,” “exquisite,” “invaluable product of artistic genius,” “elaborate and beautiful,” “unique,” “remarkable alike in conception and execution.” In addition to the Clark’s piano and stools, Orchestrating Elegance includes a total of seven settees and chairs; a monumental music cabinet; and a circular onyx-top table from the celebrated suite, all gathered from public and private collections in the United States and Europe. The private collection objects have never before been exhibited outside of auction sales rooms.

Artistic Collaboration and Partnership
 
Alma-Tadema commissioned other artists to contribute to the music room. Frederic, Lord Leighton created a triptych ceiling painting featuring a number of allegorical figures representing music, poetry, inspiration, and dance. Orchestrating Elegance presents three drawings of these panels that reveal the careful development process for which Leighton was famous. Edward Poynter was chosen by Alma-Tadema to paint the piano’s fallboard, resulting in one of the most celebrated components of the suite. Poynter, like Alma-Tadema and Leighton, was known for his subjects inspired by classical antiquity, and his precise and jewel-like painting style was ideally suited to the intimate proportions of the interior of the fallboard, visible when the keys are exposed.

When Johnstone, Norman & Co. obtained the Marquand music room commission in 1884, the company was well known among high-end London furniture manufacturers. The Marquand commission resulted in the most celebrated furniture ever made by the firm, raising its international reputation and stimulating overreaching ambitions that ultimately led to the company’s demise. Although the exact nature of Alma-Tadema’s relationship with the firm is unknown, it is likely that he used the company to manufacture furniture for his own his studio and confidently recommended it to Marquand. While Marquand likely traveled to London to solidify his wishes with Johnstone, Norman & Co., the commission was carried out under the active supervision of Alma-Tadema, whose designs for the piano and a suite of matching furniture and textiles were converted to fabrication drawings.

Alma-Tadema and His Art, Full Circle 
 
The piano has a rich history as a musical instrument. Its interior lid was fitted with parchment sheets so it could be signed by the musicians who played it. Over the years, a number of famous musicians signed it, including Walter Damrosch, Sir Arthur Sullivan, Sir William S. Gilbert, and Richard Rogers. The exhibition includes a room devoted to the musical history of the piano, featuring a video of the recent performances on the piano including music tied to its history, as well as several listening stations programmed with other selections associated with the piano.

Following Marquand’s death in 1902, the contents of his house were dispersed in a highly publicized and very successful public auction. The Alma-Tadema suite sold to several buyers. The piano and its stools were purchased by a Colonel William Barbour, who owned it for two decades. When it came on the market in 1923, theater impresario Martin Beck purchased it. He also was able to acquire some of the other original furniture from the suite in a separate auction four years later, and he placed the piano and various chairs, settees, and tables from the suite in the mezzanine lobby of the Martin Beck Theatre (now the Al Hirschfeld Theatre) on 45th Street in Manhattan. Eventually sold by the theater’s owners, the furniture pieces entered into museum and private collections as cherished objects reflective of the era’s highest standards of design and taste.

Alma-Tadema achieved great success during his lifetime. His paintings of imagined scenes from ancient times have influenced directors of films set in antiquity such as BenHur and Gladiator, among others. While admiration for his academic style of painting waned in the early decades of the twentieth century, in recent years there has been renewed interest in his work, and in 2011 his canvas



The Finding of Moses sold for $35.9 million—an auction record for the artist.

In 2016 The Fries Museum opened the major exhibition Alma-Tadema: At Home in Antiquity, which traveled to Vienna and will be shown in summer 2017 in London, the city where Alma-Tadema enjoyed his greatest success.



Orchestrating Elegance: Alma-Tadema and the Marquand Music Room, a fully illustrated catalogue of the exhibition, is distributed by the Clark and Yale University Press. Contributors include co-curators Kathleen M. Morris and Alexis Goodin, with essays by Melody Barnett Deusner and Hugh Glover.

Alma-Tadema: At Home in Antiquity


Fries Museum in the Netherlands 

since October 2016

Belvedere, Vienna 

February 22 to June 18, 2017

Leighton House Museum, London

7 July - 29 October 2017

Sir Lawrence Alma-Tadema, A Coign of Vantage, 1893
Sir Lawrence Alma-Tadema, A Coign of Vantage, 1895 (detail). Collection of Ann and Gordon Getty
#almatadema

Alma-Tadema: At Home in Antiquity (7 July – 29 October 2017) explores Lawrence Alma-Tadema’s fascination with the representation of domestic life in antiquity and how this interest related to his own domestic circumstances expressed through the two remarkable studio-houses that he created in St John’s Wood together with his wife Laura and daughters. Born in the north of the Netherlands, the exhibition traces his early training and move to London in 1870 where he established a hugely successful career at the heart of the artistic establishment. His work fixed ideas in the popular imagination of what life in the ancient past ‘looked like’ – ideas and images that were taken to the stage, film and that remain with us today. The exhibition includes important works by Tadema himself, his wife Laura and daughter Anna with loans coming from public and private collections internationally.

At Home in Antiquity finds a perfect setting in Leighton’s own studio-house, interiors known to the Alma-Tademas as frequent callers and includes In My Studio presented by Alma-Tadema to Leighton as a token of his esteem and now in a private collection.

Leighton House Museum is the former home of the Victorian artist Frederic, Lord Leighton (1830-1896). The only purpose-built studio-house open to the public in the United Kingdom, it is one of the most remarkable buildings of the nineteenth century, containing a fascinating collection of paintings and sculpture by Leighton and his contemporaries.

Alma-Tadema: At Home in Antiquity is organised by the Fries Museum, Leeuwarden, the Netherlands (the artist’s home town) and comes to London following exhibition at the Belvedere, Vienna bringing over 100 works to Leighton House Museum as the only UK venue for the show.

Victorian England was where Dutchman Lawrence Alma-Tadema developed into a celebrated artist. His sensual representations of everyday scenes from antiquity made him famous beyond the borders of Great Britain. The artist and his works will be honored with a solo exhibition in the Lower Belvedere from February 22 to June 18, 2017. The works presented have been on show at the Fries Museum in the Netherlands since October 2016.

Born and raised in Friesland, Alma-Tadema received his education in Belgium before immigrating to London in 1870. He lived there with his two daughters from his first marriage and his second wife, Laura Theresa Epps, who was also an artist. The family’s furnished studio houses were of central importance to him. The couple collected materials, objects, and furniture from different centuries and cultures – both originals and copies. Many of these objects can be found in Alma-Tadema's paintings. Fascinated by antiquity, Alma-Tadema brought to life quotidian scenes from ancient Rome, Pompeii, and Egypt in his works. Meticulous studies of ancient objects and structures contributed to the appeal and credibility of his representations. His masterful rendering of materiality, his innovative approach to the portrayal of space, and the distinct narrative element of his paintings inspired his contemporaries and made him one of the most sought-after and expensive artists of his time. His compositions shaped the way people imagined life during antiquity and inspired the costume designs and set concepts for epic historical film productions such as Quo Vadis? by Enrico Guazzoni (1913) and Ridley Scott's Gladiator (2000).

With major works from all over the world, the exhibition  gives insight into the artist’s life and work and invites one and all to dive into the decadent world of English aestheticism.


Lawrence Alma-Tadema, In my Studio, 1893

Sir Lawrence Alma-Tadema, In My Studio, 1893            





 Sir Lawrence Alma-Tadema, A Coign of Vantage, 1895




The Roman Potters in Britain (Hadrian in England), 1884




Entrance of the Theatre (Entrance to a Roman Theatre), 1866




An Audience at Agrippa’s, 1875



The Roses of Heliogabalus, 1888
Colección Pérez Simón, Mexico



Unconscious Rivals, 1893
Bristol Museums & Art Gallery, Photo



Lawrence Alma-Tadema, A Votive Offering, 1873 Lady Lever Art Gallery, National 




Lawrence Alma-Tadema at Home in Antiquity Exhibition Catalogue

Robert Rauschenberg: Among Friends

Tate Modern
December 1, 2016– April 2, 2017

The Museum of Modern Art
May 21, 2017–September 17, 2017 

San Francisco Museum of Modern Art (SFMOMA)
November 18, 2017–March 25, 2018

Robert Rauschenberg: Among Friends, a retrospective spanning the six-decade career of this defining figure of contemporary art, will be on view at The Museum of Modern Art from May 21 through September 17, 2017. Organized in collaboration with Tate Modern in London, this exhibition brings together over 250 works, integrating Rauschenberg’s astonishing range of production across mediums including painting, sculpture, drawing, prints, photography, sound works, and performance footage. 

Robert Rauschenberg is organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art,and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, curatorial assistants, Department of Painting and Sculpture, The Museum of Modern Art. The exhibition’s design at MoMA is created in collaboration with acclaimed artist and filmmaker Charles Atlas. 

In addition to this retrospective’s presentation in New York, Robert Rauschenberg was on view in a different iteration at Tate Modern (December 1, 2016– April 2, 2017) and will be shown at the San Francisco Museum of Modern Art (SFMOMA) (November 18, 2017–March 25, 2018).

To focus attention on the importance of creative dialogue and collaboration in Rauschenberg’s
work, MoMA’s presentation is structured as an “open monograph”—as other artists, dancers,
musicians, and writers came into Rauschenberg’s creative life, their work enters the
exhibition, mapping the exchange of ideas. These figures, among the most influential in
American postwar culture, include Trisha Brown, John Cage, Merce Cunningham, Sari Dienes,
Morton Feldman, Jasper Johns, Billy Klüver, Paul Taylor, Jean Tinguely, David Tudor, Cy
Twombly, Susan Weil, and many others. 
In 1959, Robert Rauschenberg (American, 1925–2008) wrote, “Painting relates to both art
and life. Neither can be made. (I try to act in that gap between the two.)” His work in this gap
played a key role in defining the possibilities for artmaking in the years to come. The early
1950s, when Rauschenberg launched his career, was the heyday of the heroic gestural
painting of Abstract Expressionism. Rauschenberg challenged this painterly tradition with an

egalitarian approach to materials, bringing the stuff of the everyday world into his art. Working
alone and in collaboration with others, Rauschenberg invented new, interdisciplinary forms of
artistic practice that helped set the course for art of the present day. He created works that
merged traditional art materials with ordinary objects, found imagery, and the cutting-edge
technology of an emergent digital age; developed new modes of performance and
performative work; and organized collaborative projects that crossed the boundaries
between mediums and nations. 
“The ethos that permeates Rauschenberg’s work—an openness, commitment to
dialogue and collaboration, and global curiosity—makes him, now more than ever, a
touchstone for our troubled times,” says exhibition curator Leah Dickerman. 
The exhibition galleries group work across mediums from particular moments and places in
which Rauschenberg and his friends and collaborators came together, making art and often
presenting it in association, starting with Black Mountain College, near Asheville, North
Carolina, then moving to Rauschenberg’s Fulton Street and Pearl Street studios in New York
City, and finally to Captiva Island, Florida, where the artist concluded his prolific career. 

Among its many highlights, Robert Rauschenberg presents the artist’s widely celebrated
Combines (1954–64) and silkscreen paintings (1962–64) in fresh ways, including two rarely
lent works: 




 Charlene (1954), the last and largest from the artist’s series of Red Paintings,
which incorporates mirrors, part of a man’s undershirt, an umbrella, comic strips, and a light
that flashes on and off; 



and Monogram (1955–59), Rauschenberg’s famous Combine assembled from a taxidermied angora goat and a tire, positioned on a painted and collaged wooden platform. At the same time, the exhibition explores lesser-known periods within his career, including his work of the early 1950s and the late 1960s, which is increasingly compelling and prescient to contemporary eyes. 
Among Rauschenberg’s early landmarks are his  



Erased de Kooning Drawing (1953)



 and Automobile Tire Print (1953). The latter work was made when the artist instructed composer
John Cage to drive his Model A Ford through a pool of paint and then across 20 sheets of
typewriter paper. 

Later galleries present two of his most ambitious technological experiments, both made in collaboration with engineers: 



Oracle (with Billy Klüver, Harold Hodges, Per Biorn, Toby Fitch, and Robert K. Moore, 1962–65), a five-part sculpture that combines salvaged metal junkyard treasures with the most advanced wireless transistor circuitry, 



and Mud Muse (with Frank LaHaye, Lewis Ellmore, George Carr, Jim Wilkinson, Carl
Adams, and Petrie Mason Robie, 1968–71), a vat of 8,000 pounds of drillers’ mud, which
burbles like a primeval tar pit in syncopation with sound-activated air compressors.

The exhibition represents the richness of Rauschenberg’s late career through the Gluts series (198689, 199194), metal sculptures inspired by the contemporary economy of the artist’s native Texas. 

The final gallery also features such works as  



Holiday Ruse (Night Shade) (1991) and 



Mirthday Man (Anagram [A Pun]) (1997), 

which show Rauschenberg developing new printing techniques to reproduce his own photographs at the grand scale of painting, refusing through his very last works to segregate artistic mediums from one another.


The pioneering video artist and filmmaker Charles Atlas collaborated on the exhibition’s presentation in New York. An artist with 14 works in the Museum’s collection, Atlas worked with the Merce Cunningham Dance Company from the early 1970s to 1983 as stage manager, lighting designer, and in-house filmmaker, and maintained a close working relationship with Cunningham until his death in 2009. Atlas recounts that Rauschenberg, who collaborated with Cunningham on more than 20 performances from 1954 to 1964, was the reason for the young artist’s first association with the company: “I went to see Rauschenberg’s work—that was my introduction to Merce.... [Rauschenberg] has been my main inspiration all my artistic life.” 

Atlas’s work with the Museum’s curatorial and exhibition-design teams foregrounds Rauschenberg’s deep engagement with dance and performance, underscoring the ways these disciplines fundamentally shaped his approach to art making. One of the exhibition’s centerpieces is a new installation that Atlas has created around footage from the historic multimedia performance series 9 Evenings: Theatre and Engineering (1966), which featured works conceived by artists, including Rauschenberg, in collaboration with engineers from Bell Laboratories. 

From June 3 through July 30, visitors will also have the chance to see Atlas’s The Illusion of Democracy—a trilogy of video installations comprising Plato’s Alley (2008), Painting by Numbers (2011), and 143652 (2012)—in the Museum’s second-floor exhibition galleries as part of Inbox, an ongoing series of installations that showcase recent additions to MoMA’s collection. 

Robert Rauschenberg: Among Friends also presents video documentation from Rauschenberg’s own performances Pelican (1963) and Map Room II (1965). Selected film footage, photographs, and archives document his contributions to dances by Cunningham and Taylor. 

The final gallery highlights and celebrates his 16-year collaboration with Trisha Brown (1979–1995). When Brown invited Rauschenberg to design the costume and sets for Glacial Decoy (1979), her first work on a proscenium stage, a “quartet that ‘slides’ back and forth,” Rauschenberg created a backdrop of 620 photographic slides showing sites in and around Fort Myers, Florida, near his home base of Captiva Island. The slides were made to be projected on four large screens lining the back of the stage, migrating from one screen to the next. These projections, which Brown would later describe as a “luminous continuum,” are featured along with documentary footage from the dance’s performance at the Brooklyn Academy of Music in 2009. Footage from Set and Reset (1983), the second collaboration between Rauschenberg and Brown with Laurie Anderson, are featured in this gallery as well. 


Robert Rauschenberg: Among Friends | MoMA LIVE



PUBLICATIONS: 

Robert Rauschenberg: Among Friends is accompanied by two publications: an exhibition catalogue and a new volume devoted to Rauschenberg’s 34 drawings for Dante’s Inferno

The richly illustrated exhibition catalogue examines the artist’s entire career across a full range of mediums. Edited by Leah Dickerman and Achim Borchardt-Hume, the book features 16 essays by eminent scholars and emerging new writers, including Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden W. Joseph, Ed Krčma, Michelle Kuo, Pamela M. Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, and Catherine Wood. Each essay focuses on a specific moment in Rauschenberg’s career, exploring his creative production across disciplines. Integrating new scholarship, documentary imagery, and archival materials, this is the first comprehensive catalogue of Rauschenberg’s career in 20 years. 414 pages, 436 illustrations. Hardcover, $75. ISBN: 978- 1-63345-020-2. Paperback, $55. ISBN: 978-1-63345-021-9. Published in the United States and Canada by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Published and distributed outside the United States and Canada by Tate Publishing. 




MoMA is also publishing Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno,a new volume devoted to this treasured icon in the Museum’s collection. Between 1958 and 1960, Rauschenberg made drawings for each of the 34 cantos of Dante Alighieri’s13th-century poem Inferno by using a novel technique to transfer photographicreproductions from magazines or newspapers onto paper, and then working further with other materials. A testament to Rauschenberg’s desire to have art reflect contemporary experience, the resulting drawings weave together meditations on public and private spheres, politics and inner life. Above all, they pay homage to creativity in dialogue: each drawing is a conversation with Dante across the centuries. 

For this volume, MoMA has invited two acclaimed poets of our own time—Kevin Young and Robin Coste Lewis—to offer their responses, in conversation with each other, to Rauschenberg’s celebrated series in a poem for each drawing. Coste Lewis is a provost’s fellow in poetry and visual studies at the University of Southern California, and the author of Voyage of the Sable Venus (2015), the winner of the National Book Award for Poetry. Young is the poetry editor at The New Yorker, the director of the Schomburg Center for Research in Black Culture, and the author of 11 books of poetry and prose, most recently Blue Laws: Selected & Uncollected Poems 1995–2015 (2016), which was longlisted for the National Book Award. An essay by curator Leah Dickerman explores Rauschenberg’s making of the Dante drawings in depth. 


Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno” will be published as a paperback and as a limited-edition portfolio of 500 copies that contains facsimiles of each of Rauschenberg’s drawings; this will be the first time the series has been made available as a printed set since 1964. Paperback, $24.95. ISBN 978-1-63345-029-5. 104 pages; 50 illustrations. Limited edition, $500. ISBN 978-0-87070-857-9. 76-page illustrated booklet and 34 individual sheets encased in a clothbound clamshell box. Both editions published by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Distributed outside the United States and Canada by Thames & Hudson. 



ROBERT RAUSCHENBERG (American, 1925–2008)
Canto VII: Circle Four, The Hoarders and The Wasters; Circle Five, The Wrathful and The Sullen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, pencil, watercolor, and colored pencil on paper 14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto VIII: Circle Five, The Styx, The Wrathful; Circle Six, Dis, Capital of Hell, The Fallen Angels from the series Thirty-Four Illustrations for Dante's Inferno (1959-60)
Solvent transfer drawing, pencil, watercolor, gouache, and crayon on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)

The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 28 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto X: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, gouache, and crayon on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)

The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XI: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper

14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XII: Circle Seven, Round 1, The Violent Against Neighbors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, pencil, gouache, and black chalk on paper

14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIII: Circle Seven, Round 2, The Violent Against Themselves from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, pencil, colored pencil, watercolor, and black chalk on paper

14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 29 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIV: Circle Seven, Round 3, The Violent Against God, Nature, and Art, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, pencil, and red chalk on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)

The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIX: Circle Eight, Bolgia 3, The Simoniacs from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XV: Circle Seven, Round 3, The Violent Against Nature from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper

14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVI: Circle Seven, Round 3, The Violent Against Nature and Art from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, colored pencil, and gouache on paper

14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 30 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVII: Circle Seven, Round 3, The Violent Against Art, The Usurers, Geryon from the series Thirty-Four Illustrations from Dante's Inferno (1959-60)
Solvent transfer drawing, gouache, and pencil on paper

14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVIII: Circle Eight, Malebolge, The Evil Ditches, The Fraudulent and Malicious: Bolgia 1, The Panderers and Seducers; Bolgia 2, The Flatterers from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and crayon on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XX: Circle Eight, Bolgia 4, The Fortune Tellers and Diviners from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing and pencil on paper

14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXI: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, cut-and-pasted paper, pencil, and colored pencil on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXII: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIII: Circle Eight, Bolgia 6, The Hypocrites from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and watercolor on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIV: Circle Eight, Bolgia 7, The Thieves from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIX: Circle Eight, Bolgia 10, The Falsifiers: Class 1, The Alchemists from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pastel, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)

The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXV: Circle Eight, Bolgia 7, The Thieves, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, and pencil on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)

The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVI: Circle Eight, Bolgia 8, The Evil Counselors, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, and pencil on paper

14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVII: Circle Eight, Bolgia 8, The Evil Counselors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, and pencil on paper

14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVIII: Circle Eight, Bolgia 9, The Sowers of Discord: The Sowers of Religious and Political Discord Between Kinsmen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, pencil, watercolor, gouache, and colored pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXX: Circle Eight, Bolgia 10, The Falsifiers: The Evil Impersonators, Counterfeiters, and False Witnesses from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, watercolor, gouache, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXI: The Central Pit of Malebolge, The Giants from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, colored pencil, gouache, and pencil on paper

14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXII: Circle Nine, Cocytus, Compound Fraud: Round 1, Caina, Treacherous to Kin; Round 2, Antenora, Treacherous to Country from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXIII: Circle Nine, Cocytus, Compound Fraud: Round 2, Antenora, Treacherous to Country; Round 3, Ptolomea, Treacherous to Guests and Hosts from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXIV: Circle Nine, Cocytus, Compound Fraud: Round 4, Judecca, Treacherous to their Masters, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)

Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously

ROBERT RAUSCHENBERG (American, 1925–2008)
Canyon
1959
Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials
81 3/4 x 70 x 24" (207.6 x 177.8 x 61 cm)
The Museum of Modern Art, New York. Gift of the family of Ileana Sonnabend

ROBERT RAUSCHENBERG (American, 1925–2008)
Gift for Apollo
1959
Oil, fragments of a pair of men’s pants, necktie, wood, fabric, newspaper, printed paper, and printed reproductions on wood with metal bucket, metal chain, doorknob, L-brackets, metal washer, mail, cement, and rubber wheels with metal spokes
43 3/4 × 29 1/2 × 41" (111.1 × 74.9 × 104.1 cm) (variable)
The Museum of Contemporary Art, Los Angeles
The Panza Collection

ROBERT RAUSCHENBERG (American, 1925–2008)
Pail for Ganymede
1959
Sheet metal and enamel paint over wood, with crank, gear, sealing wax, and tin can
19 × 5 × 5 1/2" (48.3 × 12.7 × 14 cm)
Robert Rauschenberg Foundation, New York
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Painting with Grey Wing
1959
Oil, printed reproductions, unpainted paint-by-number board, typed print on paper, photographs, fabric, stuffed bird wing, and dime on canvas
32 × 21 1/2 × 1 1/2" (81.3 × 54.6 × 3.8 cm)
The Museum of Contemporary Art, Los Angeles
The Panza Collection

ROBERT RAUSCHENBERG (American, 1925–2008)
Sketch for Monogram
1959
Watercolor and graphite on paper
19 1/8 x 11 3/8" (48.6 x 28.9 cm)
Robert Rauschenberg Foundation, New York

ROBERT RAUSCHENBERG (American, 1925–2008)
Summerstorm
1959
Oil, pencil, paper, printed reproductions, wood, fabric, necktie, and metal zipper on canvas, three panels
79 × 63 × 2 1/2" (200.7 × 160 × 6.4 cm)
Ovitz Family Collection, Los Angeles

ROBERT RAUSCHENBERG (American, 1925–2008)
Untitled
1959
Tin can, pocket watch, and chain
3 1/4 × 2 1/2 × 3" (8.3 × 6.4 × 7.6 cm) Thomas H. Lee and Ann Tenenbaum
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Winter Pool
1959
Oil, paper, fabric, wood, metal, sandpaper, tape, printed paper, printed reproductions, fragments of a man's shirt, handkerchief, handheld wood bellows, and found painting on two canvases conjoined by wood ladder
90 1/2 × 59 1/2 × 4" (229.9 × 151.1 × 10.2 cm)
The Metropolitan Museum of Art, New York. Gift of Steven and Alexandra Cohen, and Purchase, Lila Acheson Wallace Gift, Bequest of Gioconda King,
by exchange, Anonymous Gift and Gift of Sylvia de Cuevas, by exchange, Janet Lee Kadesky Ruttenberg Fund, in memory of William S. Lieberman, Mayer Fund, Norman M. Leff Bequest, and George A. Hearn and Kathryn E. Hurd Funds

JASPER JOHNS (American, born 1930)
Painted Bronze
1960
Oil on bronze
5 1/2 × 8 × 4 3/4" (14 × 20.3 × 12.1 cm) Component: 4 3/4 × 2 11/16" (12 × 6.8 cm) 3/4 × 8 × 4 3/4" (1.9 × 20.3 × 12.1 cm) Museum Ludwig, Cologne. Ludwig Collection
5/12/2017
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05 Performance and Objects
MERCE CUNNINGHAM (American, 1919–2009) ROBERT RAUSCHENBERG (American, 1925–2008) JOHN CAGE (American, 1912–1992)
Antic Meet

1958/1964
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
1:56 min.; 3 min.
Courtesy Electronic Arts Intermix, New York

ROBERT BREER (American, 1926–2011)
Homage to Jean Tinguely's "Homage to New York"
1960
16mm film transferred to video (black and white, sound) Courtesy Light Cone and the Robert Breer Estate

MARCEL DUCHAMP (American, born France. 1887–1968)
Bottle Rack
1960 (third version, after lost 1914 original) Galvanized iron
23 1/4 × 14 1/2 × 14 1/2" (59.1 × 36.8 × 36.8 cm) Robert Rauschenberg Foundation, New York

ROBERT RAUSCHENBERG (American, 1925–2008)
Pilgrim
1960
Oil, graphite, paper, printed paper, and fabric on canvas with painted wood chair
79 1/4 x 53 7/8 x 18 5/8" (201.3 x 136.8 x 47.3 cm)
Kravis Collection
5/12/2017
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
The Money Thrower for Tinguely’s H.T.N.Y. (Homage to New York)
1960
Electric heater with gun powder, metal springs, twine, and silver dollars. 6 3/4 × 22 1/2 × 4" (17.1 × 57.2 × 10.2 cm)
Moderna Museet, Stockholm.
Gift of Pontus Hultén

JEAN TINGUELY (Swiss, 1925–1991)
Fragment from Homage to New York
1960
Painted metal, fabric, tape, wood, and rubber tires
6' 8 1/4" x 29 5/8" x 7' 3 7/8" (203.7 x 75.1 x 223.2 cm) The Museum of Modern Art, New York. Gift of the artist

JEAN TINGUELY (Swiss, 1925–1991)
Homage to New York drawing
1960
Pencil, ink, and felt-tip pen on paper
15 7/8 x 18" (40.4 x 45.7 cm)
The Museum of Modern Art, New York. Committee on Drawings Funds

JASPER JOHNS (American, born 1930)
15' Entr'acte
1961
Oil, encaustic, and collage on canvas
35 7/16 × 25 9/16" (90 × 65 cm)
Frame: 37 3/8 × 26 3/4 × 1 3/8" (95 × 68 × 3.5 cm) Museum Ludwig, Cologne. Donation Ludwig
5/12/2017
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
Black Market
1961
Oil, watercolor, pencil, paper, fabric, newspaper, printed paper, printed reproductions, wood, metal, tin, street sign, license plate, and four metal clipboards on canvas, with rope, chain, and wood suitcase containing rubber stamp, ink pad, and typed instructions regarding variable objects given and taken by viewers
50 × 59 13/16 × 4 3/4" (127 × 152 × 12 cm)
Musem Ludwig, Cologne. Donation Ludwig

ROBERT RAUSCHENBERG (American, 1925–2008)
First Time Painting
1961
Oil, paper, fabric, sailcloth, plastic exhaust cap, alarm clock, sheet metal, adhesive tape, metal springs, wire, and string on canvas
76 3/4 × 51 1/4 × 8 7/8" (194.9 × 130.2 × 22.5 cm)
Staatliche Museen zu Berlin, Nationalgalerie, Marx Collection

ROBERT RAUSCHENBERG (American, 1925–2008)
Pantomime
1961
Oil, enamel, paper, fabric, wood, metal, rubber wheel, and electric fans on canvas
84 × 60 × 20" (213.4 × 152.4 × 50.8 cm)
Private collection

ROBERT RAUSCHENBERG (American, 1925–2008)
This is a Portrait of Iris Clert, If I Say So
1961
Telegram
4 9/16 × 5 1/16" (11.6 × 12.9 cm) Ahrenberg Family, Switzerland
5/12/2017
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
Trophy IV (for John Cage)
1961
Metal rod, cut pipe, aluminum sheet, leather boot, wood, tire tread, chain, metal flashlight, tape, and paint on wooden platform
33 × 82 × 21" (83.8 × 208.3 × 53.3 cm)
San Francisco Museum of Modern Art. Purchase through a gift of Phyllis C. Wattis

NIKI DE SAINT PHALLE (French, 1930–2002)
Shooting Painting American Embassy
1961
Paint, plaster, wood, plastic bags, shoe, twine, metal seat, axe, metal can, toy gun, wire mesh, shot pellets, and other objects on wood
96 3/8 x 25 7/8 x 8 5/8" (244.8 x 65.7 x 21.9 cm)
The Museum of Modern Art, New York. Gift of the Niki Charitable Art Foundation

HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
6 × 9 1/4" (15.2 × 23.5 cm)
Robert Rauschenberg Foundation, New York

HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
7 1/4 × 9 1/2" (18.4 × 24.1 cm)
Robert Rauschenberg Foundation, New York
5/12/2017
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05 Performance and Objects
DAVID TUDOR (American, 1926–1996)
"Nomographs" designed for a realization of John Cage's Variations II
1961
Ink on cardboard
Each: 2 1/8 × 11 3/4" (5.4 × 29.8 cm)
The Getty Research Institute, Los Angeles

ROBERT RAUSCHENBERG (American, 1925–2008)
Ace
1962
Oil, paper, cardboard, paint-can label, umbrella, doorknob, fabric, wood, nails, and metal on canvas, five panels
Overall: 108 × 240 × 7 1/2" (274.3 × 609.6 × 19.1 cm)
Albright-Knox Art Gallery. Gift of Seymour H. Knox. Jr.

ROBERT RAUSCHENBERG (American, 1925–2008)
Pelican
1963
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
2:13 min.
Robert Rauschenberg Foundation, New York

ROBERT RAUSCHENBERG (American, 1925–2008) ALEX HAY (American, born 1930)
Gold Standard
1964

Oil, paper, printed reproductions, metal speedometer, cardboard box, metal, fabric, wood, string, pair of men's leather boots, and Coca-Cola bottles on gold fabric folding Japanese screen with electric light, rope, and ceramic dog on bicycle seat and wire-mesh base
84 1/4 × 142 1/8 × 51 1/4" (214 × 361 × 130.2 cm) Glenstone
5/12/2017
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05 Performance and Objects
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ROBERT RAUSCHENBERG (American, 1925–2008)
Map Room II
1965
16mm film transferred to video (black and white, silent) Editing and installation by Charles Atlas
2:53 min.
Robert Rauschenberg Foundation, New York
06 Silkscreens and Oracle
ROBERT RAUSCHENBERG (American, 1925–2008)
Merce Cunningham Company rehearsing "Aeon"
1961
Photograph, digital print on paper
Image: 8 × 10" (20.3 × 25.4 cm)
Merce Cunningham Dance Foundation, Inc. records, Additions. Jerome Robbins Dance Division, New York Public Library, Astor, Lennox, and Tilden Foundations

ROBERT RAUSCHENBERG (American, 1925–2008)
Crocus
1962
Oil and silkscreen on canvas 60 x 36" (152.4 x 91.4 cm) Private Collection

ROBERT RAUSCHENBERG (American, 1925–2008) TOBY FITCH
HAROLD HODGES
BILLY KLÜVER (Swedish, 1927–2004)

Oracle
1962-65
Five-part found-metal assemblage with five concealed remote-controlled radios: exhaust pipe on metal axle and pushcart wheels; automobile door on wheeled typewriter table, with crushed metal; ventilation duct, water, and concealed showerhead in washtub on wheels, with chain, wire basket, and metal lid on wheels; constructed staircase control unit housing automobile tire and batteries and other electronic components on wheels; and wooden window frame with ventilation duct on wood support with wheels
Dimensions variable
Musée National d’Art Moderne, Centre Pompidou, Paris. Gift of Mr. and Mrs. Pierre Schlumberger

ANDY WARHOL (American, 1928–1987)
Let Us Now Praise Famous Men (Rauschenberg Family)
1962
Silk-screen on canvas
81 15/16 × 81 15/16" (208.2 × 208.2 cm)
National Gallery of Art, Washington, D.C. Gift of Mr. and Mrs. William Howard Adams and Patrons’ Permanent Fund
5/12/2017
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06 Silkscreens and Oracle
ROBERT RAUSCHENBERG (American, 1925–2008)
Cove
1963
Oil and silk-screen-ink print on canvas 72 × 36" (182.9 × 91.4 cm)
Collection Jasper Johns

ROBERT RAUSCHENBERG (American, 1925–2008)
Estate
1963
Oil and silkscreen-ink print on canvas
95 3/4 x 69 3/4" (243.2 x 177.2 cm)
Philadelphia Museum of Art. Gift of the Friends of the Philadelphia Museum of Art, 1967

ROBERT RAUSCHENBERG (American, 1925–2008)
Kite
1963
Oil and silkscreen-ink print on canvas 84 × 60" (213.4 × 152.4 cm)
The Sonnabend Collection Foundation

ROBERT RAUSCHENBERG (American, 1925–2008)
Overdrive
1963
Oil and silkscreen ink on canvas
84 x 60" (213.4 x 152.4 cm) Promised gift of Glenn and Eva Dubin
5/12/2017



Scanning
1963
Oil and silk-screen-ink print on canvas
55 3/4 x 73" (141.6 x 185.4 cm)
San Francisco Museum of Modern Art. Fractional and promised gift of Helen and Charles Schwab

ROBERT RAUSCHENBERG (American, 1925–2008)



Tracer
1963
Oil and silkscreen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation

ROBERT RAUSCHENBERG (American, 1925–2008)




Persimmon
1964
Oil and silk-screen-ink print on canvas 66 x 50” (167.6 x 127 cm)
Collection Jean-Christophe Castelli




Press
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Collection Samuel and Ronnie Heyman, Palm Beach, Florida


ROBERT RAUSCHENBERG (American, 1925–2008)
Retroactive I
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Frame: 84 3/4 × 60 3/4 × 2" (215.3 × 154.3 × 5.1 cm)
Wadsworth Atheneum Museum of Art, Hartford, CT. Gift of Susan Morse Hilles